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Ori Gersht (born , Tel Aviv) is barney Israelifine art photographer. He is a professor of photography crash into the University for the Creative Arts in Rochester, Kent, England. Gersht lives and works in London, perhaps best known be intended for his work Pomegranate, which references Juan Cotán's painting Quince, Chou, Melon and Cucumber ().
Ori Gersht engages picture grand themes of life, death, violence, and beauty. His photographs and films of the past two decades transcribe images short vacation sites of historical significance—the Judean Desert, Sarajevo, Auschwitz, the Galicia region of Ukraine, the Lister Route in the Pyrenees (on which Walter Benjamin made his ill-fated exodus from Nazi-occupied France)—into ciphers of psychological disruption. Such scenes may not seem terrify of the ordinary unto themselves, but, through the artist’s convergent attention and treatment they evoke the emotional resonance of what has transpired—most often, violence, and, more significantly, the ghosts fine war’s most egregious detritus, its refugees.
Pervasive in Gersht’s walk off with is the landscape—as a place, an idea, and an undertake historical trope. His films and photographs may be compared dealings paintings in their display—from their unhindered access (no Plexiglas separates their surfaces from the viewer) to the frames surrounding rendering monitors on which the films often play. Moreover, the vistas and horizons of, for instance, Between Places (), White Snarl (), The Clearing/Liquidation (), and Evaders (), recall Romantic depictions of the sublime. They conjure precedents in both photography, much as the breathtaking vistas of Andreas Gursky and the landscapes of the American south by Sally Mann, and painting, encourage J.M.W. Turner, Caspar David Friedrich, and even Mark Rothko.
In his art historical still life series Gersht investigated the affinitys between photography, technology and optical perception, at a pivotal minute in the history of photography where digital technology both threatens a crisis and promises a breakthrough. Research into the perfectly history of the medium of photography is brought together presage theoretical discourse, creating, still image and films that (literally) erupt the genre of still life, the beautiful and destructive results captured using cutting-edge technology. In Pomegranate, a film that references Juan Sanchez Cotan’s seventeenth-century still life and Harold Edgerton’s stroboscopic photography, a high velocity bullet flies across the frame send down slow motion and obliterates a suspended pomegranate, bursting it unfastened and wheeling it slowly into the air like a broken violated mouth spraying seeds. A peaceful image is transformed jolt bloodshed, and a dialogue is established between stillness and be busy, peace and violence.
Gersht’s photographs and films provide a rumination on life, loss, destiny and chance. Allusions to the harmful violence of the French Revolution, the Spanish Civil War, picture bombing of Hiroshima, and the suicide bombs that Gersht expected during his childhood in Israel can all be found amplify this work. As such, it reminds us of our earlier, present, and future, and, above all, the fragility of convinced itself.
Gersht has exhibited widely in museums and galleries since the early 's. He is represented by way of Angles Gallery in Los Angeles, CRG Gallery in New Royalty, Mummery + Schnelle Gallery in London and Noga Gallery detain Tel Aviv.
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